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You highlight a dialogue between East and West. How is this a specific feature of your gallery?

 

It is indeed a defining feature, but above all, it is a strategic focus based on a consciously chosen taste. We believe that our audience—our clients and collectors—are drawn to a curatorial program with a clearly identifiable editorial line. This East-West dialogue is our identity. It is highly contemporary in artistic terms, but also in broader cultural, economic, and political contexts. Asian art continues to hold strong appeal—it fascinates a wide audience, whether they are connoisseurs or not. It possesses a great power of seduction and desirability, offering immediate access to Asia through its aesthetic strength.

 

This East-West dialogue is all the more meaningful because it has ancient roots. The East has long inspired and influenced Western art. The history of art is full of movements that have revealed the wonders of Asia and integrated them into European aesthetics.

 

Whether we’re talking about the “taste for China” as early as the 17th century, the porcelain trade with the East India Company, the fascination with Coromandel lacquerware, or more recently, Japonism, international exhibitions in the 19th and 20th centuries, and post-colonial artists—we aim to contribute to this ongoing dialogue with Asia, in a fully contemporary context.

 

You seem particularly interested in Korean art (as evidenced by the dedicated articles on your website). Why this focus?

 

Rodrigue established early connections with the Korean art market. A key moment in shaping our Korean programming was the encounter with the association of Korean artists in France (Sonamou). For nearly 80 years, artists from Korea have cultivated a special relationship with France. Magna Gallery Paris aims to carry forward and further develop this connection.

 

Undeniably, Korea now holds a powerful soft power that resonates worldwide. It is one of the leading hubs of artistic creation in Asia. It therefore seemed natural to align our strategy with Hallyu, the Korean cultural wave sweeping across the globe. We ourselves are captivated by this culture, which still holds many unexplored facets.

 

And we know how to convince our audience of the profound interest and wonder that Korean art provokes. This art is remarkable in many ways. Korean artists—modern or contemporary—aim to convey their silent contemplation of nature through very delicate works. Their artistic vision is grounded in compositions that are always refined and elegant, whether painted or sculpted.

 

The contemporary art market is highly competitive. What challenges do you face today for the artists you represent, and how do you showcase their work?

 

Asian art, and our focus on Korean art in particular, places us in a distinct market. While we engage with the primary market, we also reach out to both private and institutional clients operating in the secondary market. In this segment, we handle major works.

 

What is essential is the aesthetic and technical quality of the works—and, of course, of the artists themselves. Equally important is the authenticity of the works: they must be truly of their time, culturally contextual, and reflect a personal vision and gesture from the artist. No imitations, no pastiches, no anachronisms.

 

As for promoting and showcasing our artists, the answer is simple: we offer them space and time that is 100% dedicated to them. For this reason, we focus on solo shows. These monographic exhibitions at the gallery—supported by significant walk-in traffic—are complemented by a strong online communication strategy and targeted outreach to our key clients. We guide them through a curated journey of our discoveries, which in turn enrich their collections.

 

Lastly, a gallery must engage in research. We aim to provide scholarly insights on our artists by gathering valuable documentation on their work, and by engaging with art critics, literature, and art history—such as through the publication of prefaces. This adds significant value for artists, many of whom are entering or will soon enter museum collections.